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Soundcraft FX16ii - rebirth of a classic
The Soundcraft FX16ii mixer uses the same AudioDNA processor featured in many of the Digitech and Lexicon outboard equipment including the highly respected Lexicon MX500 processor. With over 35 years experience, the Lexicon name is synonymous with the best reverb and processing in the business, ensuring the finest quality effects not usually found in a console at this price level.
The Soundcraft FX16ii offers a combination of powerful live and recording features; each channel has a Direct Output which is individually switch-able pre or post fader to enable use with 16-track recording systems. The Lexicon effects work just as well in the live as well as the recording environment with a tap tempo function, 3 parameter controls, user effects settings store ability, effects clip LED and 32 powerful and editable effects to choose from.
The use of the latest PCB surface mount technology means that the Soundcraft FX16ii fits all of these features into a rugged, compact frame which can be optionally rack-mounted into a 10U space via Soundcraft FX16ii's rotating connector pod which allows cables to be connected conveniently behind the rack and save rack space.
Soundcraft FX16ii main features include:
- 26 inputs
- 16 mono microphone channels
- 4 stereo returns
- 4-bus architecture, with sub-group routable to mix
- Built-in 24 bit Lexicon digital effects processor
- 32 FX settings
- Tap Tempo
- 3 FX parameter adjust rotaries
- User FX settings store function
- Direct outputs for multi-track recording individually switch-able for pre-post-fade operation
- Inserts on all mono channels
- Inserts on stereo mix output
- Classic Soundcraft 3-band EQ with swept mid-band
- Stereo 18dB/octave 100Hz high-pass filter
- Dual global +48V phantom power split channels 1-8 and 9-16
- Channel Mute control
- 10-segment tri-coloured metering
- Two sub-group outputs
- Separate mono sum output
- Integral universal power supply
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MIC/LINE Input Channels The XLR microphone input is equipped with an extremely high quality, ultra-low noise, discrete preamp. The +48V phantom power for condenser microphones can be switched in groups of six. The Line Input and Channel Insert are implemented as jack sockets. The Gain can be controlled in the range 0-60 dB. The switchable Lo Cut filter (80Hz, 18dB/oct.) serves to eliminate low-frequency noise. A very typical DYNACORD feature is the asymmetrical Voicing Filter by means of which, if desired, the voice can be powerfully emphasized in the mix. Optimized for ease-of-use, the 3-band semi-parametric equalizer makes it possible even for unpracticed users to perform the requisite corrections swiftly and intuitively. With their extended buss structures, the CMS3 mixers offer very flexible configuration options. In all, 6 AUX busses are available in each case: 2 (FX) are assiged to the two effects devices; 2 (AUX) can be configured either as monitor or effects sends by means of a switch in the Main section; 2 (MON) are designed as monitor sends, each being equipped with a sweepable anti-feedback filter in the Master section. MUTE and PFL switches, each with its own LED, make it possible to mute each input channel individually and/or listen to its pre-fader signal. Each channel offers a Signal Present and Peak LED for level control. The channel faders are dust-protected and offer not only excellent crosstalk attenuation but also a practice-optimized control characteristic. All potentiometers and faders are high-quality components from ALPS. Stereo MIC/LINE Input Channels The stereo input channels are equipped in much the same way, but optimized, naturally, to carry stereo signals. Two of the four stereo inputs of each model are additionally equipped with cinch (RCA) sockets switched in parallel for CD or MP3 players. The two other stereo inputs receive in addition the four channels of the digital audio interface USB 1-2 and USB 3-4 Separate Gain controls are provided for the Stereo Line and Mic inputs to permit them to be used in parallel if desired. Three-band tone controls are provided, and a Balance control replaces the PAN control found in the mono channel strips. MASTER In the Master Section, too, the CMS3 mixers are lavishly equipped. The 11-band stereo equalizer can be routed to the Master channels or else to either or both of the Monitor Sends according to choice. The FX1+2 Returns as well as the AUX1+2 and MON1+2 Sends are on faders just like the Master L/R signal, which makes for comfortable and intuitive operation. The Master B signal is available pre or post MASTER L/R fader and can be mono-summed if desired. The Master signal is also available on the REC Send cinch (RCA) output with level control. The level meters of the CMS3 comprise two LED chains of 12 LEDs each. The display range covers 40 dB; what is shown is the level in dBu at the master outputs. When the PFL switch is activated, the left-hand LED chain shows the internal level of the master buss in dBu. The Standby switch mutes all channels e.g. during pauses, with only the 2TRACK-to-Master input remaining active for the playback of interval music. A 4-pin XLR socket is provided for the connection of a standard 12V/5W gooseneck lamp. DIGITAL USB 2.0 AUDIO INTERFACE The USB 2.0 port serves as a digital audio interface between the CMS3 and a PC or Mac. Four channels can be transmitted in either direction simultaneously. This interface can therefore be used either for the input of audio signals (e.g. for playback or interval music) or else for live- or studio-recording applications. It is configured by selecting the relevant setting in the menu. For the use of the CMS3 with a PC or Mac, a free Cubase LE license as well as the requisite USB drivers are included free-of-charge on the supplied DVD. PC MIDI Interface The CMS3 also offers a fully-featured PC MIDI interface. The MIDI input also supports the remote switching of both internal effects units using a master keyboard or MIDI footswitch. Professional Effects, OLED Display and Processing Menus The CMS3 has two integrated stereo multi-effects processors that work independently of one another, each offering 100 effects algorithms optimized for live performance, the most important parameters of which are editable. Linear 24-bit AD/DA converters and 48-bit double-precision processing guarantee the finest studio quality based on state-of-the-art technology. The 100 program locations of each device are packed with high-quality reverbs, halls and plates that deliver professional results in live performance on stage as well as in both studio and home recording environments. Other presets include Echo/Reverb and Chorus/Echo combinations, a variety of delay, flanger, chorus and doubling algorithms, as well as special reverb and delay programs. When a delay effect is active, the delay time can be synchronized to the beat of the music using the TAP key. Edited effects programs can be stored in the 20 User memories offered by each device, assigned names, and later selected and used in the same way as the presets. The large, high-contrast OLED display is easily read from a wide range of viewing angles—even in very bright surroundings. The operation of the effects units and processing menus is intuitive and made easier still through the use of soft keys and a rotary encoder. Processing Menus For the basic settings, configuration, use of the effects and special functions, a wide variety of editing options can be selected from the clearly arranged menus. Innovative Solution for Protection and Transportation Optionally available for the CMS 1000 and 1600 is a very robust plastic lid with an integrated handle—a highly innovative solution that offers optimal protection for the device as well as greater carrying comfort. For the CMS 2200, due to its greater size, a flight-case solution is recommended (available as a further option is a dust cover: the DC-PM2200-COVER). Accessories For rack installation of the CMS 1000 (or table installation of the models 1600 and 2200), the mounting kit RMK 1000-3 is available. Other accessories include the gooseneck light DC-LITLITE-4P and the DC-FS11 ON/OFF footswitch for the effects units. | | Low-cost high-performance mixers
Key Features
- 6 Mono & 2 Stereo Input Channels
- 6x GB30 Microphone Preamplifiers
- Recording and Live Sound Audio Console
- Compact Mobile Enclosure
The Soundcraft EPM Series provides a straight-forward, yet professional alternative to complex audio mixers. Constructed in a 6-, 8- or 12-channel chassis, the EPM mixers are well-suited for recording and sound reinforcement applications.
The EPM 6 features 6 mono and 2 stereo input channels providing the flexibility needed to accommodate the recording studio, venue or touring musician. All mono inputs feature 1/4" phone line and balanced XLR microphone inputs. The famed GB30 microphone preamps provide the quiet, detailed signal synonymous with Soundcraft\'s large FOH consoles. The stereo inputs provide L/R 1/4" phone connections and are ideal for connecting stereo devices such as keyboards, returning effects, etc.
The EQ section features a sweepable mid-range on all mono channels and provides smooth frequency contouring. Inserts on all mono channels and stereo output enable signal routing to external signal processors. The compact profile, rich sound quality and flexibility of the EPM Series provides everything necessary for use in project recording, video editing, night clubs, bars, meeting halls, houses-of-worship, and more.
6 Mono and 2 Stereo Channels
The EPM 6 features 6 mono microphone and line input channels, 2 stereo inputs feature L/R 1/4" phone connections
Comprehensive Controls
The comprehensive layout is designed to attract users who require a straight-forward mixing environment
GB30 Microphone Preamplifiers
All 12 mono inputs feature Soundcraft\'s GB30 microphone preamps for quiet, clean large-format FOH console quality
Compact and Professional
The EPM Series consoles pack a professional feature set in a compact, mobile enclosure
Total # Of Inputs |
6x Mono
2x Stereo |
Mic/Line Inputs |
6x Line Mono: 1/4" TRS Phone
2x Line Stereo: L/R 1/4" TRS Phone
6x Microphone: 3-pin XLR |
Stereo Line Inputs |
2x Stereo: L/R 1/4" TRS Phone |
In-Line Inputs/Returns |
No |
AUX Sends |
2x Aux Sends |
AUX Returns |
No dedicated returns |
Inserts |
1/4" TRS Phone - Mono Inputs, Main Stereo Output |
BUS (Group) Outputs |
Stereo Output Only |
2 Trk Master I/O |
Mix L/R: Stereo Paired L/R RCA Phono |
ALT I/O |
No |
Monitor Outputs |
Monitor: L/R Stereo Paired 1/4" TRS Phone |
EQ Section |
Mono Inputs +/- 15 dB
Lo: 80 Hz
Mid: 150 Hz - 3.5 kHz (swept)
Hi: 12 kHz
Q: 1.5
Stereo Inputs +/-15 dB
Lo: 80 Hz
Mid: 720 Hz
Hi: 12 kHz |
Solo/Mute |
All Input Channels |
Channel Level Control |
100 mm Faders |
Trim/Gain Control |
Rotary Potentiometers |
Phantom Power |
+48 V Phantom |
Metering |
10-Segment L/R Peak LEDs
+48 V Phantom Power LED
PFL Active LED
Power Indicator LED |
Frequency Response |
20 Hz to 20 kHz +/-1.5 dB |
Dynamic Range |
Not specified by manufacturer |
Signal-to-Noise Ratio |
Noise (22 Hz - 22 kHz measurement bandwidth)
Mic EIN @ max gain, 150 ohms source impedance -127 dBu
Mix @ max, faders to down |
Total Harmonic Distortion (THD) |
Mic sensitivity 30 dB, +14 dBu @ mix output: |
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MIC/LINE Input Channels The XLR microphone input is equipped with an extremely high quality, ultra-low noise, discrete preamp. The +48V phantom power for condenser microphones can be switched in groups of six. The Line Input and Channel Insert are implemented as jack sockets. The Gain can be controlled in the range 0-60 dB. The switchable Lo Cut filter (80Hz, 18dB/oct.) serves to eliminate low-frequency noise. A very typical DYNACORD feature is the asymmetrical Voicing Filter by means of which, if desired, the voice can be powerfully emphasized in the mix. Optimized for ease-of-use, the 3-band semi-parametric equalizer makes it possible even for unpracticed users to perform the requisite corrections swiftly and intuitively. With their extended buss structures, the CMS3 mixers offer very flexible configuration options. In all, 6 AUX busses are available in each case: 2 (FX) are assiged to the two effects devices; 2 (AUX) can be configured either as monitor or effects sends by means of a switch in the Main section; 2 (MON) are designed as monitor sends, each being equipped with a sweepable anti-feedback filter in the Master section. MUTE and PFL switches, each with its own LED, make it possible to mute each input channel individually and/or listen to its pre-fader signal. Each channel offers a Signal Present and Peak LED for level control. The channel faders are dust-protected and offer not only excellent crosstalk attenuation but also a practice-optimized control characteristic. All potentiometers and faders are high-quality components from ALPS. Stereo MIC/LINE Input Channels The stereo input channels are equipped in much the same way, but optimized, naturally, to carry stereo signals. Two of the four stereo inputs of each model are additionally equipped with cinch (RCA) sockets switched in parallel for CD or MP3 players. The two other stereo inputs receive in addition the four channels of the digital audio interface USB 1-2 and USB 3-4 Separate Gain controls are provided for the Stereo Line and Mic inputs to permit them to be used in parallel if desired. Three-band tone controls are provided, and a Balance control replaces the PAN control found in the mono channel strips. MASTER In the Master Section, too, the CMS3 mixers are lavishly equipped. The 11-band stereo equalizer can be routed to the Master channels or else to either or both of the Monitor Sends according to choice. The FX1+2 Returns as well as the AUX1+2 and MON1+2 Sends are on faders just like the Master L/R signal, which makes for comfortable and intuitive operation. The Master B signal is available pre or post MASTER L/R fader and can be mono-summed if desired. The Master signal is also available on the REC Send cinch (RCA) output with level control. The level meters of the CMS3 comprise two LED chains of 12 LEDs each. The display range covers 40 dB; what is shown is the level in dBu at the master outputs. When the PFL switch is activated, the left-hand LED chain shows the internal level of the master buss in dBu. The Standby switch mutes all channels e.g. during pauses, with only the 2TRACK-to-Master input remaining active for the playback of interval music. A 4-pin XLR socket is provided for the connection of a standard 12V/5W gooseneck lamp. DIGITAL USB 2.0 AUDIO INTERFACE The USB 2.0 port serves as a digital audio interface between the CMS3 and a PC or Mac. Four channels can be transmitted in either direction simultaneously. This interface can therefore be used either for the input of audio signals (e.g. for playback or interval music) or else for live- or studio-recording applications. It is configured by selecting the relevant setting in the menu. For the use of the CMS3 with a PC or Mac, a free Cubase LE license as well as the requisite USB drivers are included free-of-charge on the supplied DVD. PC MIDI Interface The CMS3 also offers a fully-featured PC MIDI interface. The MIDI input also supports the remote switching of both internal effects units using a master keyboard or MIDI footswitch. Professional Effects, OLED Display and Processing Menus The CMS3 has two integrated stereo multi-effects processors that work independently of one another, each offering 100 effects algorithms optimized for live performance, the most important parameters of which are editable. Linear 24-bit AD/DA converters and 48-bit double-precision processing guarantee the finest studio quality based on state-of-the-art technology. The 100 program locations of each device are packed with high-quality reverbs, halls and plates that deliver professional results in live performance on stage as well as in both studio and home recording environments. Other presets include Echo/Reverb and Chorus/Echo combinations, a variety of delay, flanger, chorus and doubling algorithms, as well as special reverb and delay programs. When a delay effect is active, the delay time can be synchronized to the beat of the music using the TAP key. Edited effects programs can be stored in the 20 User memories offered by each device, assigned names, and later selected and used in the same way as the presets. The large, high-contrast OLED display is easily read from a wide range of viewing angles—even in very bright surroundings. The operation of the effects units and processing menus is intuitive and made easier still through the use of soft keys and a rotary encoder. Processing Menus For the basic settings, configuration, use of the effects and special functions, a wide variety of editing options can be selected from the clearly arranged menus. Innovative Solution for Protection and Transportation Optionally available for the CMS 1000 and 1600 is a very robust plastic lid with an integrated handle—a highly innovative solution that offers optimal protection for the device as well as greater carrying comfort. For the CMS 2200, due to its greater size, a flight-case solution is recommended (available as a further option is a dust cover: the DC-PM2200-COVER). Accessories For rack installation of the CMS 1000 (or table installation of the models 1600 and 2200), the mounting kit RMK 1000-3 is available. Other accessories include the gooseneck light DC-LITLITE-4P and the DC-FS11 ON/OFF footswitch for the effects units. |
Augmenting the already highly successful GB4 console range is the new GB8 8-bus console. The GB4 has found many friends including the Cavern Club in Liverpool, and in use at the Bedford venue in South London.
Available in frame sizes from 24 to 48 channels, each with four full-function stereo channels and four stereo returns, the GB8 is designed for installations such as churches and performance venues, or for small touring sound systems. The dual-mode topology implemented to such success on the MH3 and MH4 desks allows the GB8 to be used on FOH or monitor duties, with fader control of group or aux outputs. Additional features over the GB4 include a 1kHz oscillator and a meter bridge with three led meters that very closely emulate the ballistics of VU meters.
Four mute groups allow several channels to be muted simultaneously, while another unique facility is the limiter on both the Record and Alternate stereo outputs that makes it easier to create a stereo recording of the mix.
The console also features an output matrix with eleven feeds to four outputs, being fed from the group busses and main L, R and C (mono) outputs.
Although largely conventional in layout, the GB8 does have some unique mechanical features. The rugged steel chassis has a sloping rear connector panel so that it is easier to configure from the front of the desk, while the integral power supply has a link option for an external back-up PSU.
Both the GB4 and GB8 desks carry the high quality hallmark with which Soundcraft is synonymous, with engineering and design, as youʼd expect from this high-end manufacturer. Careful attention has been given to the mechanical construction, to ensure reliability under strenuous conditions, with all input modules being constructed with individual vertically-mounted pcbʼs, fitted to the steel chassis front panel with individually-nutted potentiometers.
The GB Series also shares the stylish looks of the MH4, MH3 and LX7ii consoles, continuing a strong family look and feel across the range.
FEATURE SUMMARY
Analogue/Digital: | Analogue | Frame Sizes: | 24 32 40 48 | Stereo Channels: | 4 | Digital I/O: | No | FX Processors: | 0 | Groups: | 8 | EQ Bands: | 4 | Aux Sends: | 8 | Returns: | 5 | Direct Outputs: | Yes | Matrix Outputs: | 4 | Main Bus Out: | LRC |
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